Marcel Duchamp and the Perceptual Dimension of Conceptual Art

2017 ◽  
pp. 69-76
Keyword(s):  
Conceptual Art ◽  
Perceptual Dimension ◽  
Marcel Duchamp

scholarly journals Gender Provocation Made by Marcel Duchamp

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Nikoletta Házas
Keyword(s):  
Gender Roles ◽  
Conceptual Art ◽  
Human Beings ◽  
Value Judgments ◽  
Aesthetic Value ◽  
Marcel Duchamp ◽  
Related Individuals ◽  
Gender Awareness ◽  
The One ◽  
Conceptual Work

This essay examines the gender aspects in Marcel Duchamp’s conceptual oeuvre, which have long been partially or completely neglected in the Duchamp literature. The analysis focuses on the well-known readymade, called Fountain (1917/64), which became the symbolic object of the very beginning of the conceptual art paradigm. My hypothesis is that Duchamp’s conceptual work, mixing up the logic of circular arguments with humor and irony, can be interpreted as an ‘avant-la-lettre’ gender provocation, confronting interpreters not only with a gender task —understanding and defining our social gender roles, tasks and desires facing the already existing possibilities given in our social surroundings— but also with an over-gender task that goes beyond the understanding of our biological endowments and given social gender roles and positions. Hence, on the one hand, this early gender provocation, carried out by the Fountain of Marcel Duchamp performing ironic aesthetic value judgments —modeling the structure of logical selfcontradictions—encourages gender awareness; on the other hand, —by setting up premises leading to senseless conclusions— it creates a gender trap.My argument is that the interpretation of this gender trap, modeled by the Fountain at the beginning of the 20th century —in the lack of an over-gender awareness— can result in reductions, denying the complexity of our human existential and co-existential roles and neglecting the over-gender roles and positions of human beings as autonomous and yet co-existentially related individuals.

The Bride Stripped Bare

2020 ◽  
pp. 197-210
Author(s):  
Nicholas Mee
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Conceptual Art ◽  
Higher Dimensions ◽  
Abstract Art ◽  
Marcel Duchamp ◽  
Higher Dimensional ◽  
Future Direction ◽  
Spiritual Movement ◽  
Modern Artists

Hinton’s writing on higher dimensions influenced artists as well as writers. Chapter 19 looks at how higher-dimensional geometry influenced the development of the visual arts in the twentieth century. Hinton’s influence was both direct through his own books and through the spiritual movement known as the Theosophists who latched onto his more mystical ideas. The cubists were the first modern artists to abandon the use of traditional perspective, and they were rapidly followed by other art movements. A number of the pioneers of abstract art were influenced by the Theosophists, including Kandinsky, Mondrian, and Malevich. Marcel Duchamp played a key role in determining the future direction of the visual arts, and some of his major works were developed around ideas of higher dimensions. These include Nude Descending a Staircase and Bride Stripped Bare By Her Bachelors, Even. Duchamp also led the way toward today’s conceptual art.

Ink art as method: Diagnostics of dipolarity

2020 ◽  
Vol 6 (1-2) ◽  
pp. 119-129
Author(s):  
Xia Kejun
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Diagnostic Value ◽  
New Method ◽  
Marcel Duchamp ◽  
Contemporary Practice

I argue that in China, ink is not only a special material with a historical connection to literati art, but also philosophy-in-practice. It confronts the limitations of expression, and forms the idea of Black (deep and in a state of becoming) and Blank (white and empty). This is a dipolarity or dualism within the disposition of art. I discuss how ink art is a new method, and give it diagnostic value in relation to contemporary practice. China’s contemporary ink artists seek to resolve the paradox of working with both conceptual art and the specialism of painting as an art through letting the natural elements of ink express themselves sufficiently, by letting nature create itself, in order to combine techne and nature. This ‘blank-blank art’ is an example of dipolar thinking, or yinyang thinking, and therefore is distinct from the modern or contemporary art which is predominantly monopolar or binary. Considering ink art as method offers a new direction which opens a space of ‘between-ness’, evoking the forgotten dream of Marcel Duchamp, which he named the ‘infra-mince’.

‘Look Again’: Indeterminacy and Contemporary British Drama

2011 ◽  
Vol 27 (1) ◽  
pp. 71-85 ◽  
Author(s):  
Emilie Morin
Keyword(s):  
Performance Art ◽  
Conceptual Art ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
British Drama ◽  
The Status ◽  
Event Score ◽  
Sarah Kane ◽  
And Performance ◽  
The University

The integration into conceptual art of techniques inspired by Fluxus (the international aggregate of artists who saw indeterminacy as imaginatively and linguistically enabling) has, in turn, given rise to a specific line in British playwriting since the mid-1990s, as evidenced in plays by Martin Crimp, Sarah Kane, and Tim Crouch which gesture towards conceptual art, performance art, and the event score. In this article Emilie Morin brings to light the affinities between this artistic moment in contemporary British theatre and the international avant-garde. She discusses the shared interest of Crimp, Kane, and Crouch in indeterminacy and the fusion between artistic media, paying particular attention to Crouch's redefinition of the status of the modern artwork in his play for galleries England (2007). Critical recognition of the experimental mode in which these playwrights operate has remained subsumed under a non-specific appreciation of their relationship to conceptual art, leaving important questions of form and legacy unaddressed. Here, the proximity between this marginal trend in British playwriting and developments in experimental music and performance art exploring ideas of indeterminacy is highlighted, and the contemporary problematization of performance as event and concept is reconfigured in relation to the legacies of Marcel Duchamp, John Cage, and Fluxus. Emilie Morin is Lecturer in the Department of English and Related Literature at the University of York and the author of Samuel Beckett and the Problem of Irishness (Palgrave Macmillan, 2009). Her research interests lie in European modernism and the avant-garde.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

Kurz. Historie

2015 ◽  
Author(s):  
Tomasz Szerszeń
Keyword(s):  
Marcel Duchamp ◽  
Man Ray

Tekst o wystawie "Dust / Histoires de poussière d’après Man Ray et Marcel Duchamp" w Le Bal w Paryżu.

An Author as Literature. (Visual) Autofiction of Dorota Masłowska

2016 ◽  
Author(s):  
Anna Michalak
Keyword(s):  
New Media ◽  
Cultural Practices ◽  
Conceptual Art ◽  
Visual Representations ◽  
The Creation

Using the promotional meeting of Dorota Masłowska’s book "More than you can eat" (16 April 2015 in the Bar Studio, Warsaw), as a case study, the article examines the role author plays in it and try to show how the author itself can become the literature. As a result of the transformation of cultural practices associated with the new media, the author’s figure has gained much greater visibility which consequently changed its meaning. In the article, Masłowska’s artistic strategy is compared to visual autofiction in conceptual art and interpreted through the role of the performance and visual representations in the creation of the image or author’s brand.

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